In the final part of Film Score Monthly's feature compiling the thoughts of film composer Leonard Rosenman, he talks of his final movies. Here it is. It includes talking about working with Irvin Kershner on RoboCop 2:
Now that was a case of throwing pearls to swine, because that picture had a superb script which was really screwed up during shooting. There were some brilliant scenes, but no story.Rosenman also gets more expansive about film and music in general:
There's that scene where the kid points the gun at the screen and says, "Take that, mother___." I told Kersh the audience was gonna kill him for that; he pushed it too far beyond the boundaries of good taste. It was corrupt. If you make a film about corruption, you don't make a corrupt film. If you make a film about a boring person, you don't make a boring film. That's the difference between art and reality. People don't want to see reality unless it's a documentary. That's the problem.
Reality is, in films, an interpretation of naturalism. The image of the film, vastly larger than life, is by itself not real. It is often the musical statement in the film that gives it its reality. This is somewhat paradoxical because music is, within the filmic frame of reference, its most unnaturalistic element...